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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. 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Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Four Bay Area Musicians to Know, Rightnowish",
"headTitle": "Four Bay Area Musicians to Know, Rightnowish | KQED",
"content": "\u003cp>There are way too many talented musical artists from the Bay Area, each one deserving their shine. So, let’s do more to support them.\u003c/p>\n\u003cp>For the next four weeks, the \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> \u003c/a>team is dropping one episode per week spotlighting artists who are getting active. Every one of these talented people are taking the culture they soaked up from the Bay, and they’re sharing it with the world.\u003c/p>\n\u003cp>All of them are working on some pretty interesting projects right now:\u003c/p>\n\u003cp>Nappy Nina is following a successful 2020 run by dropping a new project soon. YMTK is ghostwriting and producing, as well as continuously putting out new singles. Jada Imani is releasing a new three-track EP every month for six months straight. And Champ Green, who is the face of the Hella Nuts plant-based eatery, is on the verge of dropping a project called Pleasantly Plump II—an ode to the plus-sized brothers like himself.\u003c/p>\n\u003cp>I’m lucky enough to know these people and their work, so it’s an honor to share their stories with you… \u003cem>Rightnowish\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891649\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png\" alt=\"Nappy Nina\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nappy Nina\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Brooklyn. She’s a woman and an MC, but don’t call her a femcee. Actually, just be quiet, kick back, nod your head and enjoy her sultry, lyrical flow over jazzy, boom-bap beats.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/YMTK-1020x1020.png\" alt=\"YMTK\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/h3>\n\u003ch3>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YMTK\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Los Angeles. He’s eclectic: a fashionable guy who loves a party and a spiritual guy who has never gotten too far from his religious roots. His music falls into that undefined world where R&B meets hip-hop. You’ll get to know a different side of his personality on each track.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png\" alt=\"Jada Imani\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani \u003ccite>(Photo by 13thelement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>Missouri born, Bay Area raised, currently living in Hawaii. Jada Imani is a light. She’s an educator and organizer who uses her music to do both. I can only describe her sound as neo-soul-meets lyrical hip-hop, served over a hot plate of vibes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2592114794&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891647\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Champ-Green-1020x1020.png\" alt=\"Champ Green\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green \u003ccite>(Photo by Rustin Cohle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>Born, raised and currently residing in Oakland. Champ Green is a linguist who uses his verbal skills to express the benevolent energy that fills his heart. His music sounds like a word puzzle, where lyrical ideas are connected cohesively. It’s as if his rhymes are a slinky falling down a staircase. Each metaphor serves as an extension of the love he has for his people and his craft.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Download \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a> \u003c/em>wherever you get your podcasts and get a new episode to your feed every week. \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch4>What Bay Area musicians do you think we should know about?\u003c/h4>\n\u003cp>Nominate your faves for consideration on a future Rightnowish episode: \u003ca href=\"http://www.kqed.org/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">www.kqed.org/rightnowish\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "For the next month, the 'Rightnowish' podcast will feature artists with local roots who are taking the sounds of the Bay to a national stage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are way too many talented musical artists from the Bay Area, each one deserving their shine. So, let’s do more to support them.\u003c/p>\n\u003cp>For the next four weeks, the \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> \u003c/a>team is dropping one episode per week spotlighting artists who are getting active. Every one of these talented people are taking the culture they soaked up from the Bay, and they’re sharing it with the world.\u003c/p>\n\u003cp>All of them are working on some pretty interesting projects right now:\u003c/p>\n\u003cp>Nappy Nina is following a successful 2020 run by dropping a new project soon. YMTK is ghostwriting and producing, as well as continuously putting out new singles. Jada Imani is releasing a new three-track EP every month for six months straight. And Champ Green, who is the face of the Hella Nuts plant-based eatery, is on the verge of dropping a project called Pleasantly Plump II—an ode to the plus-sized brothers like himself.\u003c/p>\n\u003cp>I’m lucky enough to know these people and their work, so it’s an honor to share their stories with you… \u003cem>Rightnowish\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891649\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png\" alt=\"Nappy Nina\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nappy Nina\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Brooklyn. She’s a woman and an MC, but don’t call her a femcee. Actually, just be quiet, kick back, nod your head and enjoy her sultry, lyrical flow over jazzy, boom-bap beats.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/YMTK-1020x1020.png\" alt=\"YMTK\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/h3>\n\u003ch3>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YMTK\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Los Angeles. He’s eclectic: a fashionable guy who loves a party and a spiritual guy who has never gotten too far from his religious roots. His music falls into that undefined world where R&B meets hip-hop. You’ll get to know a different side of his personality on each track.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png\" alt=\"Jada Imani\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani \u003ccite>(Photo by 13thelement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>Missouri born, Bay Area raised, currently living in Hawaii. Jada Imani is a light. She’s an educator and organizer who uses her music to do both. I can only describe her sound as neo-soul-meets lyrical hip-hop, served over a hot plate of vibes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2592114794&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891647\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Champ-Green-1020x1020.png\" alt=\"Champ Green\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green \u003ccite>(Photo by Rustin Cohle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>Born, raised and currently residing in Oakland. Champ Green is a linguist who uses his verbal skills to express the benevolent energy that fills his heart. His music sounds like a word puzzle, where lyrical ideas are connected cohesively. It’s as if his rhymes are a slinky falling down a staircase. Each metaphor serves as an extension of the love he has for his people and his craft.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Download \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a> \u003c/em>wherever you get your podcasts and get a new episode to your feed every week. \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch4>What Bay Area musicians do you think we should know about?\u003c/h4>\n\u003cp>Nominate your faves for consideration on a future Rightnowish episode: \u003ca href=\"http://www.kqed.org/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">www.kqed.org/rightnowish\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2021, SJZ plans to support even more artists through continued fundraising, and 10 artists from the original cohort of 33 will receive an additional grant. Those 10 musicians will record videos of full performances in a new music studio currently being developed by SJZ, to be used as promotional tools for the artists and released online.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.[aside postid='arts_13889101']\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81",
"headTitle": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81 | KQED",
"content": "\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Linda Deutsch is a retired special correspondent for The Associated Press. The Spector murder trial was one of many sensational cases she covered during her 48-year career as a Los Angeles-based trial reporter.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.[aside postID='arts_13819256']\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>For members of Luminous Voices, a professional choir ensemble in Alberta, Canada, rehearsing and performing safely during the pandemic has meant getting into their cars, driving to an empty parking lot and singing with each other’s voices broadcast through their car radios.\u003c/p>\n\u003cp>This “car choir” solution is one that college music professor David Newman—an accomplished baritone himself in Virginia—came up with so that ensembles could sing and “be” together.\u003c/p>\n\u003cp>“All I saw on my Facebook feed was friends either bemoaning the fact that we couldn’t sing together at all, or saying ‘Singing together is too important and we just have to do it no matter what,’ ” Newman tells NPR. “And I thought, neither of those is a good answer.”\u003c/p>\n\u003cp>Newman’s method uses a few simple tools—microphones, a mixer and an FM transmitter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjL5TjO_Hhs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He started by getting some friends together in the spring to experiment with singing, isolated in their cars, their voices connected by wireless microphones attached to a mixer.\u003c/p>\n\u003cp>After some thinking, a lightbulb went off: attach an FM transmitter to the mixer. That allowed the singers’ voices to be broadcast back into their cars through the radio, without a discernable delay.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CPD7kxrO03w\" target=\"_blank\" rel=\"noopener noreferrer\">His YouTube videos\u003c/a> about the process caught the attention of many singers and choir leaders. Newman figures about 20 choirs are using their cars and car radios for rehearsals—including Luminous Voices. The ensemble’s founder and conductor, Tim Shantz, says this new way of singing together filled a void.\u003c/p>\n\u003cfigure id=\"attachment_13890994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_5338-20201004_wide-73b763ed99dd2a8053b3fb3bcd819696317b5fb7-800x450.jpg\" alt=\"Shantz conducts Luminous Voices' first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Shantz conducts Luminous Voices’ first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\u003c/figcaption>\u003c/figure>\n\u003cp>“For us not to be able to [sing together], it’s like a whole part of our soul is sort of taken out. And we need to find ways to somehow fill that gap,” Shantz tells NPR.\u003c/p>\n\u003cp>In addition to using the system for rehearsals, Luminous Voices has also performed two car concerts. Shantz estimates about 200 people attended \u003ca href=\"https://www.youtube.com/watch?v=puV3Aeu4P5Y\" target=\"_blank\" rel=\"noopener noreferrer\">one in December\u003c/a>, all in their cars. Audience members gathered in a parking lot and tuned in to the performance on their radios. Instead of clapping, audience members honked horns.\u003c/p>\n\u003cp>For Shantz, those concerts were as much about the audience as the singers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not just about the performers and satisfying something for us. But there was this element of ‘Wow, the participation of an audience really brought the whole experience to the fore,’ ” Shantz says. “And you realize the importance of performing arts.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Car+Concerts+Offer+Choirs+A+Way+To+Rehearse+And+Perform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He started by getting some friends together in the spring to experiment with singing, isolated in their cars, their voices connected by wireless microphones attached to a mixer.\u003c/p>\n\u003cp>After some thinking, a lightbulb went off: attach an FM transmitter to the mixer. That allowed the singers’ voices to be broadcast back into their cars through the radio, without a discernable delay.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CPD7kxrO03w\" target=\"_blank\" rel=\"noopener noreferrer\">His YouTube videos\u003c/a> about the process caught the attention of many singers and choir leaders. Newman figures about 20 choirs are using their cars and car radios for rehearsals—including Luminous Voices. The ensemble’s founder and conductor, Tim Shantz, says this new way of singing together filled a void.\u003c/p>\n\u003cfigure id=\"attachment_13890994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_5338-20201004_wide-73b763ed99dd2a8053b3fb3bcd819696317b5fb7-800x450.jpg\" alt=\"Shantz conducts Luminous Voices' first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Shantz conducts Luminous Voices’ first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\u003c/figcaption>\u003c/figure>\n\u003cp>“For us not to be able to [sing together], it’s like a whole part of our soul is sort of taken out. And we need to find ways to somehow fill that gap,” Shantz tells NPR.\u003c/p>\n\u003cp>In addition to using the system for rehearsals, Luminous Voices has also performed two car concerts. Shantz estimates about 200 people attended \u003ca href=\"https://www.youtube.com/watch?v=puV3Aeu4P5Y\" target=\"_blank\" rel=\"noopener noreferrer\">one in December\u003c/a>, all in their cars. Audience members gathered in a parking lot and tuned in to the performance on their radios. Instead of clapping, audience members honked horns.\u003c/p>\n\u003cp>For Shantz, those concerts were as much about the audience as the singers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not just about the performers and satisfying something for us. But there was this element of ‘Wow, the participation of an audience really brought the whole experience to the fore,’ ” Shantz says. “And you realize the importance of performing arts.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Car+Concerts+Offer+Choirs+A+Way+To+Rehearse+And+Perform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqoLMGSBGYc\u003c/p>\n\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chapman said in her original filing that Minaj’s representatives seemed to already have been aware that Chapman would probably be loathe to OK the arrangement even before they sent the formal request. Weeks before, at the end of June, a music clearance company called DMG sent Chapman’s representatives an exploratory note, allegedly saying that an “A list artist” wanted to use “Baby Can I Hold You,” and asking if Chapman remained on an unofficial “do not sample or interpolate” list. [aside postid='arts_13888864']\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DqoLMGSBGYc'\n title='//www.youtube.com/embed/DqoLMGSBGYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ftxnr28LDXc\u003c/p>\n\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ftxnr28LDXc'\n title='//www.youtube.com/embed/ftxnr28LDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain",
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"content": "\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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